Employment in Fashion Marketing within the Creative Industries - Essay Example

A research report on employment in fashion marketing within the creative industries BY YOU YOUR SCHOOL INFO HERE HERE 0 Introduction I have considerable employment experience in the creative industries, currently working in an operations position for the womenswear fashion brand J.Diu London for nearly a year. In this position, I have been assigned to attend trade and fashion shows alongside senior management of the organisation. Previously, I worked as a blog and microblog editor at Sina, a fashion retailer, inclusive of event hosting, updating and maintenance of the blog environment. I have attended major fashion-related events such as Scoop International, Pure London and other trade shows in Berlin, Munich and Dusseldorf. Hence, the majority of my experiences are in marketing, operations management, client relationship development, and events facilitation. It is my objective to obtain full-time employment in the creative industries, working in fashion marketing. Fortunately, Cookson (2014) indicates that employment opportunities in the creative sector have increased at a rate more than 10 times the rate of traditional job growth in the UK as of 2012. Employment in this sector increased 8.6 percent from 2011 to 2012, in comparison to a moderate growth rate of only 0.7 percent in non-creative industries in the UK (Cookson). Hence, there are ample opportunities for procuring a marketing-related job in the fashion industry. This report highlights the current state of the creative sector and develops an appropriate plan of action for gaining lucrative and relevant employment in my industry and role of choice. 2.0 The state of the creative sector – Social and managerial Currid (2007) indicates that employment in the creative sector is less concerned about formal managerial infrastructures in centralised hierarchies of managerial control which are common in non-creative organisations. Instead, there is more emphasis on social interactions between creative members and organisational leadership, often being informal relationships. It is common for creative industry organisations to cluster and brainstorm ideas whilst meeting in restaurants, bars and clubs as a means of fostering close sociological relationships (Currid 2007). The development of creative social networks, peer group activities and influence, and building social connectedness are critical to building a culture of creativity and innovation. Caldwell (2009, p.200) supports this assertion, stating that “the industry is comprised of numerous, sometimes conflicted, but competing socio-professional communities”. Gruglis and Stoyanova (2011) further emphasise the importance of the sociological environment in creative industries, indicating that inter-group participation is critical to creative production, referencing the television production industry, asserting that novice workers are expected to repeatedly watch group members working collaboratively and listen to them discuss elements of practice and innovation in both formal and informal groups. Hence, there cannot be under-emphasis that the creative sector is highly reliant on establishing close inter-connectivity with other creative and managerial representatives within creative organisations. Whilst the sociological condition cannot be overlooked, Bilton (2007) iterates that alongside these informal social relationships necessary for creative production, there is an emphasis on managerial activity as a means of building a cohesive and productive work culture in the creative organisation. Hence, in order to fully function and gain acceptance in the creative industries, an employee must have the ability to adapt to fluctuating and informal peer groups whilst also recognising the tangible expectations for effective creative production and output expectations with an emphasis on accountability to managerial systems. Offers Bilton (2007), an employee in the creative sector needs to don their business suit and then join the club of creative production. 3.0 The state of the creative sector – The role of consumers The creative sector, namely the fashion industry, is an amalgamation of not only producing creative designs, but organisational and brand-related reliance on journalism, advertising, public relations and marketing communications that give a fashion product more visibility and clout in the eyes of consumers. Deuze (2007) calls this a media culture of participation whereby collaborations occur between creative experts and brand managers. The industry is therefore characterised by a variety of marketers who are considerate of brainstorming opportunities for improving upstream, consumer-centric marketing whilst PR representatives explore how to enhance two-way conversations between organisation (or brand) and the consuming public in viable target markets. It is considered by Deuze (2007) to be a cultural convergence in an organisational context highly involved with external experts to ensure mass production of creativity and brand image. Consumer co-creation is also another element of the creative industries as a means of expanding PR prowess and producing effective marketing communications. Jenkins (2006) iterates the importance of consumer co-creation as an element of improving brand advertising under the premise of consumer journalism, especially in cyberspace. Media platforms on the Internet provide opportunities for consumers to upload their own creative content, share brand-related experiences, and socialise regarding their opinion and attitudes toward creative industries, especially apparent in the fashion industry. Hardt and Negri (2000) call this phenomenon a socio-technical experience that allows consumers to become more involved in influencing the creative industry. With the advent of cyberspace and social media, as well as journalistic blogs inviting consumer content and opinion, consumers are expectant to be intrinsically part of the creative process especially in the fashion industry. Consumers and fan audiences of fashion brands are considered to be the most primary drivers of the production of wealth for creative organisations (Grabher, Ibert and Flohr 2008). Consumer engagement in cyberspace and their role in contemporary journalism/media are vital components for improving public relations, creating effective advertising, and building a positive brand identity. Terranova (2004) supports this notion, referring to this consumer co-creation as a network culture which strongly influences the methodologies by which creative organisations engage with target customer segments and improve its marketing effectiveness. Consumer participation, therefore, is actively pursued by fashion companies in the creative industries as consumers are the primary revenue drivers for the company and fashion designs need to be aligned with their ever-changing trends and attitudes to remain a relevant brand. As a result of these changing consumer trends for active co-creation in cyberspace and in media, there must be an established and positive repertoire between organisation and the consuming public. Consumers are considered to be full participatory members of the creative process in the fashion industry and inter-group creative output is often aligned with understandings that have been gleaned through consumer-organisation communications and sentiment on blogs, microblogs and other media sources that invite opinion and attitude about fashion brands. 4.0 The state of the creative sector – Communities of practice In the fashion industry and other creative industries, there is a need for inter-organisational collaboration in order to produce creative output relevant for revenue production and brand reputation. Communities of practice is when disparate individuals maintaining different tacit knowledge and experience come together to enhance learning, build skills, or solve problems (Wenger 2005). Hence, they are called learning communities (Buffington 2003). Now, it was reinforced that the informal sociological condition of the creative organisation is critical to improving creative output, however there is a type of formality associated with inter-group collaborations that mandate individuals be able to work in teams effectively and share knowledge related to the creative process. Lave and Wenger (1991) further support this notion, stating that joint activities, sharing resources, and establishing formal learning relationships are part of the creative industries expectations. Gruglis and Stoyanova (2011) also iterate the importance of these collaborative communities of practice, iterating that novice employees are expected to be attentive to inter-group professionals discussing practice within the television production industry. Access to highly visible and very transparent expertise within a group dynamic supports learning and creative production, another formal expectation of the creative industries. However, one must be realistic about the tangible effectiveness of communities of practice where there is also reliance on informal sociological relationship development. In some industries, there is a phenomenon that occurs in which novices are put into competition with experienced professionals related to the industry as a result of ethnocentrism or even egoism about specialised experiences (Gruglis and Stoyanova). Boyd-Barrett (2006) refers to this as a type of cultural imperialism. This provides evidence that an employee of a creative industry must be considerate of effective conflict management tactics when faced with creative individuals that maintain high levels of experience and hold a self-image of overt superiority. Hence, whilst the creative industries focus on the importance of diversity, from a realistic perspective, there will likely be a variety of professional clashes and social divergences that conflict effective communities of practice ideologies. 5.0 The state of the creative sector – The emotional toll of creative work Talent show contributors often publicise very strong emotional responses borne of pressures to meet deadlines and quality expectations, especially true in the fashion industry. Creative work is considered to be precarious in an effort to balance professionalism with empathy whilst also attempting to maintain quality working relationships with different project workers (Hasmondhalgh and Baker 2008). The intensive pressures involved with the fashion industry and other creative industries cannot segregate emotional attributes from professional working collaborations. Concurrently, the pressures associated with very long working hours tend to disrupt non-work lifestyles (Banks and Deuze 2009). As a result, it creates tension and stress that invade establishment of empowered, professional direction, leading to inhumane emotional responses and conflicting complex professional negotiations. Hence, there is evidence that an employee in this sector must be equipped with proper coping skills, negotiation skills and also understand emotional intelligence that allows for regulation of similar emotional responses. 6.0 The pressures of marketization and innovation production The volume of fashion products that are purchased by consumers are strongly influenced by how consumers are able to express their social status or personality through the brand (Tungate 2008; O’Cass and McEwen 2004; Kim, Forsythe, Gu and Moon 2002). Consumers who are influenced by fashion believe it to be like a drug (Tungate 2008). As a result, there is much emphasis on innovation in the fashion industry and other creative industries in order to sustain brand relevancy and viability (Miles and Green 2008). Taylor and Littleton (2012) call contemporary innovators in the creative industries as cultural fools that are deceived into a scenario of deliberate and voluntary types of self-exploitation; a situation likely to provide self-perceptions of frustration, stress and annoyance in order to meet innovative marketing goals and innovative product output. It cannot be under-emphasised, therefore, the in order to properly adjust in the creative industries, one must be versed on marketing theory (namely brand-building) whilst also being innovators with the ability to regulate their susceptibility to emotional weakness. 7.0 A plan of action for industry entry Having identified the tangible factors driving the creative industry, an appropriate plan of entry for full-time organisational work can be developed. Medium.com, an expert organisation in creative industries and marketing, suggests that individuals dump their CV when seeking careers in the creative sector. Instead, the organisation suggests making direct phone contact with relevant industry professionals in desired organisations (Medium.com 2013). The research in this study indicated a strong consideration for the social condition and there is no better forum by which to express personality and attitude than through direct conversation. A positive first impression with a vibrant and engaging individual could land an appropriate interview in this environment where informal social relationships are mandates. Medium.com also indicates that development of a personal website is another viable entry strategy, with the organisation stating there is no excuse (Medium.com) for neglecting this strategy in the face of low-cost or free web development sites. A website would not only allow the individual candidate to express their tangible experiences and competencies, but also provide an opportunity to express personality, display creative works, and generally outperform other candidates that are only distinguishable through a cover letter. This strategy, having experience in editing blogs at Sina, will be valuable in creating engaging web content about personal competency and experience to gain interest from fashion industry recruiters. As a primary goal, I will be taking advantage of this advantage in cyberspace and then including an appropriate weblink on all cover letters delivered to desirable organisations and using free promotional tools found on social media sites such as Facebook. The primary goal is to express not only experience, but also the ability to work inter-dependently, provide innovative solutions, socialise effectively in informal groups and environments, and iterate that I am equipped to handle the mounting professional and interpersonal pressures aligned with the fashion industry. I will therefore be developing a self-constructed personality and professionalism portfolio that describes my strengths associated with professional collaborations, working with diverse individuals in high-pressure situations, conflict management capabilities, and public relations. This will provide a valuable template to prepare myself for landing interviews (using conventional recruitment methodologies) to be equipped with appropriate responses to individuals who are going to be considering candidates who can juggle professionalism, socialisation, handle pressures of the industry, and take accountability for autonomous creative production. I will have another individual record my responses to a variety of hypothetical interviews so as to actively listen to response viability and adaptiveness. As the fashion industry requires professional, social and emotional regulation in candidates, this preparatory methodology will ensure that I make a positive first impression with interviewers and be prepared to answer questions aligned with multiple dimensions of a precarious and dynamic industry. As my main interest is in marketing and events planning in the fashion industry, I will also be networking when attending fashion shows and trade shows in my current operational role with J.Diu London. I will utilise the knowledge and experiences of senior managers with the organisation to identify key players in the fashion industry also attending these events, attempting to engage positive interpersonal relationship development. Through these informal discussions, I can not only express my competency and experience in marketing and events planning, but also engage in relaxed and unceremonious discussion regarding fashion branding, innovation, and emotional regulation required of this industry. I will be producing business cards that illustrate my expertise in fashion marketing and events development which I will distribute to these individuals that appear to have positive impressions about my social competency, indicating that I am seeking new career opportunities. This will not only express a professional direction and competency, but improve my preliminary reputation that is critical in this industry. Even Monster.com, a renowned global recruitment organisation online, indicates that reputation in relation to integrity and work style is a valuable personal resource (Peterson 2014). The main goal when attempting to enter this industry is to stand out among competing candidates. So much relies on whether or not industry professionals and fashion industry recruiters are able to rapidly assess one’s viability for a very dynamic industry. I will, therefore, be making personal visits to a variety of creative staffing agencies, speaking with industry professionals that have advanced knowledge and experience of what fashion industry recruiters want in a candidate. These interviews with relevant staffing professionals will provide knowledge on what social or professional competencies require work and will provide a networking foundation regarding what companies are currently hiring in the sector. I will be building a portfolio that keeps record of what has been discussed, tips and advice offered by relevant industry professionals, and addresses and contact information for companies seeking professional and competent fashion-related professionals. This portfolio will provide new contacts for making telephone calls and organisations by which to send email correspondence indicating an interest in employment and an appropriate cover letter indicating experience, attitude and personality; as well as career objectives. 8.0 Conclusion The creative industries are substantially different than traditional non-creative organisations that want relevant experience and education as the primary factors that drive interest in recruiters for a position. This industry wants dynamic, multi-faceted and aggressive individuals that can handle the pressures of marketization, generate innovations autonomously and collaboratively, and maintain a very developed, yet informal social personality that is very prevalent in creative companies. This is next to impossible to express using traditional resume and CV job search opportunities and requires a more aggressive and non-introverted approach to gaining attention and building positive networking opportunities. Having an understanding of what drives the current state of the industry will assist in creating a workable plan for full-time employment entry and prepare me for the specific assessment criteria that will likely be engaged by managers seeking new candidates for fashion marketing and events planning positions. References Banks, J. and Deuze, M. (2009). Co-creative labour, International Journal of Cultural Studies, 12(5), pp.419-431. Bilton, C. (2007). Management and creativity: from creative industries to creative management. Oxford: Blackwell. Boyd-Barrett, O. (2006). Communications media, globalisation and empire. Eastleigh: John Libby. Buffington, J. (2003). Learning communities as an instructional model. [online] Available at: http://www.coe.uga.edu/epltt/lc.htm (accessed 2 April 2014). Caldwell, J. (2009). Cultures of production, In: J. Holt and A. Perren (eds.), Media Industries. Oxford: Wiley-Blackwell. Cookson, R. (2014). Creative industries produce employment boom, Financial Times. [online] Available at: http://search.proquest.com.v-ezproxy.brunel.ac.uk:2048/docview/1497977705 (accessed 2 April 2014). Currid, E. (2007). The Warhol economy: how fashion, art and music drive New York City. Princeton: Princeton University Press. Deuze, M. (2007). Convergence in the creative industries, International Journal of Cultural Studies, 10(2), pp.243-263. Grabher, G., Ibert, O. and Flohr, S. (2008). The neglected king: the customer in the new knowledge ecology of innovation, Economic Geography, 84(3), pp.253-280. Gruglis, I. and Stoyanova, D. (2011). The missing middle: communities of practice in a freelance labour market, Work, Employment and Society, 25(2), pp.342-351. Hardt, M. and Negri, A. (2000). Empire. Cambridge: Harvard University Press. Hesmondhalgh, D. and Baker, S. (2008). Creative work and emotional labour in the television industry, Theory, Culture and Society, 25(7), pp.97-118. Jenkins, H. (2006). Convergence culture: where old and new media collide. New York: New York University Press. Kim, J., Forsythe, S., Gu, O. and Moon, S.J. (2002). Cross cultural consumer values, needs and purchase behaviour, The Journal of Consumer Marketing, 19(6), pp.481-503. Lave, J. and Wenger, E. (1991). Situated learning: legitimate peripheral participation. Cambridge: Cambridge University Press. Medium.com. (2013). How to get a job in the creative industries. [online] Available at: https://medium.com/tips-for-working-in-the-creative-industries/1dcaf20fad75 (accessed 1 April 2014). Miles, I. and Green, L. (2008). Hidden innovation in the creative industries. London: NESTA. Terranova, T. (2004). Network culture: politics for the information age. London: Pluto Press. O’Cass, A. and McEwen, H. (2004). Exploring consumer status and conspicuous consumption, Journal of Consumer Behaviour, 4(1), pp.25-39. Peterson, T. (2014). Interview tips for landing a creative job. [online] Available at: http://career-advice.monster.com/job-interview/interview-preparation/interview-tips-for-creative-jobs/article.aspx (accessed 1 April 2014). Taylor, S. and Littleton, K. (2012). Contemporary identities of creativity and creative work. London: Ashgate. Tungate, M. (2008). Fashion brands and branding style, from Armani to Zara. London: Kogan Page. Wenger, E.C. (2005). Communities of practice: a brief introduction, North San Juan University. [online] Available at: http://www.ewenger.com/theory/index.htm (accessed 1 April 2014). Read More